. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. FIG. 23.—THE SOLDIERS RETURN. (From the National Monument near Bingen, Germany.) See pages 50, 2S6, 302. enter into the contemplation of those still more essentialbeauties of a higher order, which result from the sublimeconception of the form and character and the graceful orpathetic expression of the subject . . high and lowrilievo, perspectively sinking into a proper intaglio, iscapable of producing the sublimest and mostwonderful effects in sculpture. The same is true as applied to architect


. Painting, sculpture, and architecture as representative arts : an essay in comparative aesthetics. FIG. 23.—THE SOLDIERS RETURN. (From the National Monument near Bingen, Germany.) See pages 50, 2S6, 302. enter into the contemplation of those still more essentialbeauties of a higher order, which result from the sublimeconception of the form and character and the graceful orpathetic expression of the subject . . high and lowrilievo, perspectively sinking into a proper intaglio, iscapable of producing the sublimest and mostwonderful effects in sculpture. The same is true as applied to architecture ; and here,as is always the case in this art, by way mainly of associa- 52 PAlXT/uYG, SCULPTURR, Al^D ARCJIITECTUKK. tion. Any one at all sensitive to .tisthetic effects, will feel,almost at a first glance, the impression of strength con-veyed by the pillars of the Greek temples, as in Fig. 14,page 36, or by the pilasters of the Renaissance buildings,as in Fig. 196, page 349; or by the butti esses of the Gothiccathedrals, as in Fig. 41, page 81 ; or by any arrange-. FIQ. 24.—OLD SOUTH CHURCH, pa<;es 35, 54, 84, 331, 3S0. ments, perpendicular or vertical, that add to the possibili-ties and presence of shadows, as in Fig. 12, page 35, P^^ge ?^:^6, or Fig. 15, page 3;. He will feel, too, theimpression of a certain amount of structural weaknessconveyed b\ plain walls, such as appear in h^ig. 173, page


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